Fielding and Italian Opera

Charles Trainor

doi:10.18172/jes.143

Autores/as

Charles Trainor Siena College

DOI:

https://doi.org/10.18172/jes.143

Palabras clave:

Fielding, ópera italiana, castrati, siglo XVIII, ópera de baladas

Resumen

Fielding, el escritor más prolífico de su época en lo que a ópera de baladas se refiere, conocía muy bien la música y era particularmente categórico con respecto a la ópera italiana. Aunque reconocía lo emotivo que podía ser su “encantador tono suave”, repudiaba las formas importadas, que temía, pudieran corromper las formas inglesas. Además, si se oponía a ella en terrenos morales, también lo hacía en lo estético. Consideraba la elevación de la música del género por encima del texto como una inversión de la correcta jerarquía, y con las óperas ejecutadas en un idioma que la audiencia no entendía, vio su falla en la misión básica del arte de instruir. De hecho, a los ojos de Fielding y a los ojos de muchos de sus pares literarios, la ópera italiana llegó a simbolizar el triunfo final del sonido sobre el sentido.

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Citas

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